Blue Exorcist The Movie Original Soundtrack (青の祓魔師 (エクソシスト) ー劇場版ー オリジナルサウンドトラック) is the soundtrack album containing the background music from the film Ao no Exorcist The Movie. First pressings of the album came with a sticker of the mask that Usamaro wore during the festival. All music was produced by Hiroyuki Sawano with support from Yasushi Horiguchi. The jacket cover uses the same illustration by Kazue Katō for the movie novel and home video release. The soundtrack also released simultaneously with the Ao no Exorcist Character Song single, featuring the vocals of the Japanese voice actors for Rin and Yukio, Nobuhiko Okamoto and Jun Fukuyama.
Blue Exorcist (Japanese: 青の祓魔師, Hepburn: Ao no Ekusoshisuto) is a Japanese dark fantasy manga series written and illustrated by Kazue Kato. The story revolves around Rin Okumura, a teenager who discovers he and his twin brother Yukio are the sons of Satan, born from a human woman, and he is the inheritor of Satan's powers. When Satan kills their guardian, Rin enrolls at True Cross Academy to become an exorcist under Yukio's tutelage in order to defeat his father Satan.
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Kazue Kato took inspiration from the 2005 film The Brothers Grimm, as she tried to work the angle of brothers fighting against monsters into a story. She eventually decided on making the story about demons and exorcists, thus conceiving Blue Exorcist.[3] Due to exorcists being the main idea of the story, the manga features a lot of Biblical references. In an interview with Anime News Network, Kato said: "I should not run away from these references if I'm working in the Exorcist genre."[3] An ending was planned by Kato but the exact length of the series has yet to be decided based on the manga's popularity in Japan.[4]
Reviewed by: Terror Tracks: Music, Sound and Horror Cinema Reynold Humphries (bio) Philip Hayward (ed.) Terror Tracks: Music, Sound and Horror Cinema 286 pp. London and Oakville: Equinox, 2009 This is as about as far-ranging an anthology as one could hope for, and the reader can only admire the sheer quantity of information and analyses contained in one volume. Individual films discussed range from Psycho (1960), Kwaidan (1964) and Hammer vampire films, The Wicker Man (1973), The Exorcist (1973) and The Texan Chainsaw Massacre (1974) through the films of Dario Argento and The Shining (1980) to The Blair Witch Project (1999), Wolf Creek (Australia, 2005), modern vampire cinema, the films of Rob Zombie, and the contemporary Japanese horror cinema (The Ring, Ju-On, etc.). It is a well-chosen cross-section that never tries to be exhaustive, so we can perhaps look forward to a second anthology where it will be possible to include research on Maurice Jarre's extraordinary work for the greatest horror movie ever, Georges Franju's Les Yeux Sans Visage (1959), a task editor Philip Hayward clearly considers essential. Moreover, the notes to many contributions are extensive and send us in new and stimulating directions, essential for complementing the already suggestive and informative essays. Similarly, the bibliographies provide an invaluable source for further reading. Since I have no technical competence in the field of musical composition, I too shall avoid exhaustiveness and draw attention to elements that I have found essential for musicologists and teachers of film alike.
Inasmuch as no scholar can know everything there is to know about movies in general, or film music in particular, it is most useful to have information on cross-cultural references. Thus Howard Shore has recognised (78) the influence on his score for Crash (1996) of the music of the late Toru Takemitsu, whose score for Kwaidan receives detailed analysis. And the chapter devoted to Argento (by Tony Mitchell) points out that 'Morricone's use of a classically oriented palette of often dissonant and jarring avant-garde horror-film music in the Argento trilogy [The Bird with Crystal Plumage, The Cat O'Nine Tails, Four Flies on Grey Velvet] can be related to the music by British composers such as Richard Rodney Bennett and Elizabeth Luytens in the Hammer horror films of the 1960s...' (88-9). It is perhaps necessary to make clear that neither [End Page 261] Bennett nor Luytens wrote scores for the vampire films of that period, although Luytens was responsible for Dr. Terror's House of Horrors (1964), an Amicus production containing a segment on vampires. 2ff7e9595c
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